3: The Power of Premise

As previously mentioned, the writing process is recursive and not the same for every writer. As a result choosing how to organize chapters in this text is a difficult, if not impossible, task. While one writer may begin with character, another may develop their plot first. That said, it seems relevant to me to consider premise first and foremost as it affects the development of both characters and plot.

Why is premise even more critical than character and plot? I intend to publish my novels. Of course, not all will be published or even finished, but since I want to see my books in the market, I have to consider the market. Starting a project by developing the premise of a work forces authors to consider the market early in the project, which I would argue is a time-saving, and in this industry, spirit-saving measure.

For instance, if I want to write a book about a sparkling vampire that falls in love with a human, it would be wise for me to study the market to determine: a) has this concept been “done” before, which of course it has, and b) is this a concept that audiences (i.e. agents, editors, and readers) are eager to consume. Had I not taken the time to study the market to determine that my sparkling vampire premise may not be the best option, then I may have spent a year or more writing a book that would struggle to find a place in the market based on premise alone.

Let me be clear that time writing is not time wasted. We grow as writers when we write, so even if a book does not find its way to print, it has advanced us, likely professionally and personally. That said, for those eager to see their books in print, an awareness of premise and its impact is critical.

As is the case with all aspects of writing, authors will value a study of the market to varying degrees.

A self-published author who writes quickly and publishes multiple books per year may look more closely at what is selling and write to those tropes. An author who publishes fewer books, perhaps one every few years, may consider some aspects of the market, but generally write what drives them as the market will continue changing as they develop their project. And then there are the other dominant authors whose writing helps shape the market.

The takeaway here is that you, as an author, can choose how much you want to consider the market when you develop your premise. However, if you intend to publish your work, especially traditionally (i.e. with a small press or large publisher), some consideration of what is hot and what is definitely not is helpful to you.

That is where premise comes in.

So what is a premise?

The premise is the basic concept of your story. Agents and editors will note they want to see “high concept” ideas. That means the premise can be explained in a few, highly attractive words that will grab the attention of audiences.

The premise is delivered in a brief statement, often referred to as a logline. The logline provides a kernel of information. It might be a sentence or two. It could be a phrase. Industry professionals often refer to it as the “hook” of a story in that it hooks the reader. The term “high concept” relies entirely on a novel’s premise. A premise should be unique and original, which is not easy to do. It’s often why the pitching strategy of x meets y works.

For instance, Gossip Girl has been done before, right? What about a book with the logline Gossip Girl meets The Hunger Games? Or what about The Golden Girls meets The Hunger Games?

See how meshing two well-known concepts can make something entirely new? If a reader loves The Hunger Games, they may wonder how that is going to be similar to The Golden Girls. Or Gossip Girl? What concepts will the author merge? What new concepts will be added?

This “high concept” of x meets y is a way to appeal to readers en mass, and that is really the goal of a high concept. There are other templates authors can use to develop a high concept premise as well.

The benefit of developing a premise early in the process is that as you write, you can keep that focus in mind, and if that focus is already appealing to readers, you are a step ahead before you even begin. But how do you know what will appeal to readers? You ask.

Blake Snyder, who pioneered the “Save the Cat” concept we will discuss later in the course, suggested a very simple way to determine if your novel idea has a strong premise. He suggested you develop a one-line pitch and then just tell people - family, friends, random strangers in the store - what you’re writing. How do they react? Are they intrigued? Are they confused? Are they bored?

Trust the consensus of reactions - not one reaction. Also, share with people in your target audience, as that will carry the most value later. Finally, be sure to share with people who don't already love and admire you. That is where you will find the most honest reactions to your premise.

Another way to know whether your idea has potential is to read - A LOT. Reading what is being published will help you see what has been overdone. Keep in mind as well that what is being published today was acquired in many cases by publishers at least 18-24 months ago, so it was being written at least two to three years ago. That makes it especially difficult to be current with your ideas and your writing if you’re looking at what’s published today.

Let’s step back, though, and reflect on your purpose. If you want to write a story that is near and dear to you and you have no care whether it is ever published, that’s fine. Write what you want! But if you have hopes of publishing your novel some day, then it’s imperative you think about concept. Agents tend to receive hundreds of queries each week! Most agents only sign a couple new authors each year. See how those numbers are not in a writer’s favor?

That’s why it’s crucial to have a premise that makes an agent or editor raise their eyebrows and read the next sentence of your query. All of the other aspects of a novel - structure, character, voice, point of view, tension, etc. we will discuss this semester matter, too. But it’s the premise that gets your metaphorical foot in the door.

"Chapter 3: The Power of Premise" was created by Tamara Girardi and was licensed as CC BY-NC-SA 4.0 in October of 2023.